2006

Ideas on the Internet

The Shakespeare Conference: SHK 17.0160  Monday, 13 March 2006

From: 		Bill Arnold <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: 		Friday, 10 Mar 2006 12:53:33 -0800 (PST)
Subject: 17.0131 Ideas on the Internet
Comment: 	Re: SHK 17.0131 Ideas on the Internet

Larry Weiss quotes, "The question of priority is old, vexed, subjective 
and subject to bias. If anyone were to 'propose' a new opinion on SHK, 
would he have a scholarly claim, or must that honor always go to first 
mention in a peer-reviewed publication?"

Then Larry Weiss writes, "This is an important issue.  I wonder if 
anyone has done a study of the speed and breadth of transmission of a 
new idea broached for the first time in an internet group."

There seems to be little doubt that history records the honor goes to 
the first discoverer or theorist.  In the sciences, the planet Neptune 
generally was first viewed by Galle of Germany in 1846, and although 
Frenchman Le Verrier often is cited, history records Englishman Adams 
first made the mathematical prediction of a planet beyond Uranus.

Exploring The Planets - Discovery - Discovering The Planets The British 
astronomer James Challis, using Adams' predictions, observed the ... Who 
should receive credit for discovering Neptune? Adams or Le Verrier who 
... www.nasm.si.edu/ceps/etp/discovery/disc_planets.html -
In the same light, history records that Pythagoras predicted a 
solar-centric planetary system, although most believe Copernicus was the 
first.
In the fine arts, as well, history usually finds the truth and records 
the truth, to the dismay of claimants and their followers to the 
contrary.  In other words, the notion of peer-reviewed publication takes 
second place to the *dating* of the discovery or theory, according to 
historians.  So, it makes no difference of the discipline or the players 
credentials, as long as someone has *priority.*

Bill Arnold

_______________________________________________________________
S H A K S P E R: The Global Shakespeare Discussion List
Hardy M. Cook, This email address is being protected from spambots. You need JavaScript enabled to view it.
The S H A K S P E R Web Site <http://www.shaksper.net>

DISCLAIMER: Although SHAKSPER is a moderated discussion list, the 
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editor assumes no responsibility for them.

Julius Caesar and Religious Art

The Shakespeare Conference: SHK 17.0159  Monday, 13 March 2006

[1] 	From: 	Tom Bishop <This email address is being protected from spambots. You need JavaScript enabled to view it.>
	Date: 	Friday, 10 Mar 2006 10:11:40 -0500
	Subj: 	Re: SHK 17.0149 Julius Caesar and Religious Art

[2] 	From: 	R. A. Cantrell <This email address is being protected from spambots. You need JavaScript enabled to view it.>
	Date: 	Friday, 10 Mar 2006 09:19:09 -0600
	Subj: 	Re: SHK 17.0149 Julius Caesar and Religious Art

[3] 	From: 	William Sutton <This email address is being protected from spambots. You need JavaScript enabled to view it.>
	Date: 	Friday, 10 Mar 2006 08:10:57 -0800 (PST)
	Subj: 	Re: SHK 17.0149 Julius Caesar and Religious Art

[4] 	From: 	Joseph Egert <This email address is being protected from spambots. You need JavaScript enabled to view it.>
	Date: 	Saturday, 11 Mar 2006 20:23:48 +0000
	Subj: 	RE: SHK 17.0140 Julius Caesar and Religious Art

[5] 	From: 	Jack Heller <This email address is being protected from spambots. You need JavaScript enabled to view it.>
	Date: 	Monday, 13 Mar 2006 08:29:39 -0500 (EST)
	Subj: 	Re: SHK 17.0149 Julius Caesar and Religious Art


[1]-----------------------------------------------------------------
From: 		Tom Bishop <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: 		Friday, 10 Mar 2006 10:11:40 -0500
Subject: 17.0149 Julius Caesar and Religious Art
Comment: 	Re: SHK 17.0149 Julius Caesar and Religious Art

I must say I like Peter Bridgman's reading. It has just that 
particularly Shakespearean amphibology (as Stephen Mullaney puts it so 
well for Macbeth) about it. With the Catholic executions in the 
background somewhere, not only is Decius Brutus' reading of the dream as 
it were sub rosa reminding us that Caesar will literally bleed, but the 
play's questions about the meaning and value of Caesar's life and death 
multiply against the controversy over those executions:  were they 
really traitors? were their deaths martyrdoms? are those  who press for 
"tinctures, stains, relics and cognizance" deluded or  pious or 
dangerous? and so on. There's no polemic point being made here, but much 
doubt about how to begin deciding such questions, a Gordian knot of 
ironies about what history can and can't know of itself, how tragic 
circumstances echo across time.

Tom

[2]-------------------------------------------------------------
From: 		R. A. Cantrell <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: 		Friday, 10 Mar 2006 09:19:09 -0600
Subject: 17.0149 Julius Caesar and Religious Art
Comment: 	Re: SHK 17.0149 Julius Caesar and Religious Art

 >>Your statue spouting blood in many pipes,
 >>In which so many smiling Romans bathed,
 >>Signifies that from you great Rome shall suck
 >>Reviving blood, and that great ment shall press
 >>For tinctures, stains, relics, and cognizance.

 >When these lines were written there were no
 >longer any paintings or statues of the crucifixion in any church in
 >England or Wales.

I don't know the English Church well enough to make a pronouncement, but 
weren't all the Friars and Holy Fathers long gone as well?

[3]-------------------------------------------------------------
From: 		William Sutton <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: 		Friday, 10 Mar 2006 08:10:57 -0800 (PST)
Subject: 17.0149 Julius Caesar and Religious Art
Comment: 	Re: SHK 17.0149 Julius Caesar and Religious Art

I admire Peter Bridgman's confident assertions but exactly where does 
this specific knowledge of execution behaviour come from?

How does he know that all the religious paintings in England and Wales 
were actually destroyed and not hidden from view? Art lovers cross the 
religious divide.

And we don't know for certain whether or not Shakespeare did any form of 
European travel, in which case he may have seen paintings there.

Also if Sh. had Catholic connections then some form of crucifixion 
iconography may have escaped the admittedly sweeping clean up of the 
Protestants, by virtue of being brought in after Elizabeth's 
continuation of her daddy's reforms. Canvas is easily rolled up and 
carried. And I'm sure HM Customs wasn't as thorough back then.

I invoke sonnet 59 as argument for Shakespeare's understanding of things 
past, present and future.  'If there be nothing new, but that which is, 
hath been before, how are our brains beguiled...whether we are mended, 
or where better they, or whether revolution be the same.'

Surely he would have known of crucifixion paintings as well as hangings 
at Tyburn etc. so couldn't this be and/and rather than no way?

Yours,
William Sutton

PS along with the Chandos thread we seem to be dealing with the state of 
Art History in the time of Elizabeth. Who were the collectors, Artists, 
Schools?  are there sources in this field? Vasari's descriptions of his 
contemporaries for example provides descriptions of religious 
iconography, but was this known and translated?

[4]-------------------------------------------------------------
From: 		Joseph Egert <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: 		Saturday, 11 Mar 2006 20:23:48 +0000
Subject: 17.0140 Julius Caesar and Religious Art
Comment: 	RE: SHK 17.0140 Julius Caesar and Religious Art

To Jack Heller, Calpurnia's dream

 >"seems to parody the sacraments of both
 >baptism and the Eucharist, and it alludes as well to the
 >controversies over relics."

  Jack Heller, once again, is right on target.

Clearly the scene is designed to recall the sacramental sacrifice, as 
noted in earlier posts (SHK16.1693 and SHK16.1707). Caesar's spouting 
wounds may be seen as new gaping bleeding wombs (following Paster et 
al), offering an antibaptism of blood. Shakespeare uses Lavinia 
similarly in his earlier TITUS as a mutilated bleeding Tree of Life, so 
often associated with the crucified Christ. Other echoes include 
Mithras' sacrifice of the Bull (ritualized in the Taurabolium), spraying 
vivifying blood throughout the Cosmos, and the cannibal feast of 
hunter-assassins, incorporating the potent spirit of their prey.

Equally provocative is Decius' suckling prophecy: "from you great Rome 
shall suck/ Reviving blood..." Jesus was often pictured in medieval and 
Renaissance art as a nourishing maternal figure, his saving blood 
issuing forth from his wounds--his chest wound drawn at or near his 
nipple. Nearby are angels, maidens, or allegory figures (like Queen 
Charity) typically holding one or more chalices to collect the sacred 
blood. One 15th C. painting (THE SAVIOR) by Quirizio has Jesus 
withdrawing a wafer from his wound for a praying supplicant! Also 
available are "double intercession" paintings where Jesus, offering his 
wound blood, is paired with his mother Mary, offering her bare breast to 
the viewer--again linking breast milk with Jesus' saving blood. Milk in 
fact was held to be a refined form of blood. Related is the pelican 
mother pecking her own breast to nourish her brood with her blood. 
(Queen Liz, wearing a pelican pendant, often posed as self-sacrificing 
Mother of the Nation.) Surely Shakespeare was familiar from the pulpit 
and from his reading, if not from surviving paintings and statues, with 
these iconotypes. Jack might check out Bynum's 1986 "The Body of Christ 
in the Later Middle Ages" in RENAISSANCE QUARTERLY, vol. 39, for details 
and pictures.

The suckling metaphor as antitype can, I believe, be extended even 
further. European witch hunters of the period were desperate to 
demonstrate corporeal interaction of humans with demons, thus validating 
the Christian creed by their principle of contrariety: if the 
antiChristian Devil exists, so must the Christian God. On the Continent 
and in Scotland, the interaction sought by leading interrogation and 
torture of the suspect witch was carnal copulation during the Witch's 
Sabbath or elsewhen. English witch hunters, however, usually sought such 
interaction in the form of the witch nursing her demonic familiars with 
blood from her teats. The hunters probed and fondled the suspect's body 
for cold insensitive spots reflecting supernumerary teats, the fount of 
the unHoly blood. Caesar, with his newly incised supernumerary teats, 
may be similarly seen in this context--his "reviving blood" nourishing 
his own demonic Roman familiars, en route to World Empire.

Hail Caesar! --- the Wicked Witch of the West!

Joe Egert

[5]-------------------------------------------------------------
From: 		Jack Heller <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: 		Monday, 13 Mar 2006 08:29:39 -0500 (EST)
Subject: 17.0149 Julius Caesar and Religious Art
Comment: 	Re: SHK 17.0149 Julius Caesar and Religious Art

I would not want to argue that a specific painting influenced the lines 
from Julius Caesar, but paintings, prints, and woodcuts-like plays-come 
in genres. I think it can be shown that visual representations of St. 
Sebastian and St. Anthony influence some of the dramatic representations 
of characters who share their names. These lines from Caesar-

In which so many smiling Romans bathed, Signifies that from you great 
Rome shall suck Reviving blood, seem to call for some consideration of 
their relationship to the Christian sacraments, and it was a painting 
I've seen of characters bathing in Christ's blood that would seem to 
complement the association. While I am aware of the artwork lost to 
iconolasts in England, there would be more than one way to keep an image 
in current discourse. Peter Bridgman brings to my thinking one 
possibility--contemporaneous illustrations in martyrologies. Foxe would 
have avoided any illustration of the collection of relics from the 
Protestant martyrs; however, there were also well illustrated Catholic 
martyrologies. I am less familiar with their illustrations, so I would 
be interested in knowing if connections can be made between this passage 
on Caesar's blood, the illustrations in the Catholic martyrologies, and 
the sacraments.

Jack Heller

_______________________________________________________________
S H A K S P E R: The Global Shakespeare Discussion List
Hardy M. Cook, This email address is being protected from spambots. You need JavaScript enabled to view it.
The S H A K S P E R Web Site <http://www.shaksper.net>

DISCLAIMER: Although SHAKSPER is a moderated discussion list, the 
opinions expressed on it are the sole property of the poster, and the 
editor assumes no responsibility for them.

4,000 Ways to Spell Shakespeare

The Shakespeare Conference: SHK 17.0157  Monday, 13 March 2006

From: 		Al Magary <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: 		Sunday, 12 Mar 2006 01:46:18 -0800
Subject: 	4,000 Ways to Spell Shakespeare

Browsing among the many titles Google has been scanning in the libraries 
of Stanford, Michigan, Harvard, NYPL, and the Bodleian 
(http://books.google.com), I came across a pamphlet by George Wise, /The 
Autograph of William Shakespeare: With Fac Similes of His Signature as 
Appended to Various Legal Documents.../ (Philadelphia:  Peter E. Abel, 
1869): 
http://books.google.com/books?ie=UTF-8&vid=OCLC06529844&id=zDuGM2kukMYC&num=100&dq=date:1475-1922&lpg=PA1&pg=PP9 
(or http://tinyurl.com/oeyp8)

While adopting the now-standard spelling himself, on the authority of 
"Mr. Howard Staunton, of Mr. Dyce, of Mr. Halliwell, of Mr. Collier, and 
of Messrs. Singer and Lloyd, as well as the editors of the Cambridge 
Shakespeare", Wise  counts 37 ways to spell Shakespeare among legal and 
genealogical records (p.15).  Perhaps the pamphlet was not long enough, 
for he then embarks on the most curious venture to list some 4,000 ways 
to spell Shakespeare "according to English orthography" (pp. 17-32). 
This is something to behold.

Cheers,
Al Magary

_______________________________________________________________
S H A K S P E R: The Global Shakespeare Discussion List
Hardy M. Cook, This email address is being protected from spambots. You need JavaScript enabled to view it.
The S H A K S P E R Web Site <http://www.shaksper.net>

DISCLAIMER: Although SHAKSPER is a moderated discussion list, the 
opinions expressed on it are the sole property of the poster, and the 
editor assumes no responsibility for them.

Edith Rickert Article

The Shakespeare Conference: SHK 17.0158  Monday, 13 March 2006

From: 		Arnie Perlstein <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: 		Sunday, 12 Mar 2006 13:06:09 -0500
Subject: 	Searching for 1923 by Edith Rickert re Midsummer Night's Dream

Can anyone tell me how to obtain a copy of the 1923 article by Edith 
Rickert re Midsummer Night's Dream, in which she argues, among other 
things, that Bottom is a parody of James VI of Scotland before he became 
James I of England? I saw a reference online, but cannot find a citation 
to show if the article appeared in a book or periodical.

Thanks,
Arnie Perlstein
Weston, Florida

_______________________________________________________________
S H A K S P E R: The Global Shakespeare Discussion List
Hardy M. Cook, This email address is being protected from spambots. You need JavaScript enabled to view it.
The S H A K S P E R Web Site <http://www.shaksper.net>

DISCLAIMER: Although SHAKSPER is a moderated discussion list, the 
opinions expressed on it are the sole property of the poster, and the 
editor assumes no responsibility for them.

ASL Productions of Shakespeare

The Shakespeare Conference: SHK 17.0156  Monday, 13 March 2006

From: 		Angela L. Neff <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: 		Friday, 10 Mar 2006 11:30:22 -0600
Subject: 	ASL Productions of Shakespeare

Sorry for the long post.  I am at the end stages of writing my thesis on 
American Sign Language productions of Shakespeare.  I have been lurking 
on this list for quite awhile and have done searches of your past 
postings and found good information which provided leads for me to 
follow up on my needle in a haystack type project!

One thing I am doing with my paper is trying to establish all of the 
performances of Shakespeare in ASL that have been done in the U.S. as 
well as listing the reviews of the performances and any video or DVD of 
the performances that are in existence.  So far I have been able to 
verify 51 productions and know of one more in progress.  This includes 
several amateur productions from residential schools for the Deaf.  I 
have only been able to find out about and get my hands on a few videos 
of these performances though and am hoping some of you have information 
concerning the videos that I have been unable to obtain.  Also, some of 
the people on this list might want to know where they can obtain the 
limited videos that are available with Shakespeare in ASL (and some of 
the early stuff isn't ASL as we know it today.  So far videos I have am 
aware of include:

Ophelia
     * The Gallaudet College Dramatic Club, Washington D.C.
     * March 1958
     * Made into a black and white film available to those who have 
access to the Gallaudet University Library Archives

Othello
     * Gallaudet's Drama Department, Washington D.C.
     * Spring 1959
     * Made into a film though so far unable to obtain:  Shakespeare, 
William. Othello. Adapted by Robert Panara and Leonard Siger. Gallaudet 
College Archives, Drama.

Taming of the Shrew
     * National Technical Institute for the Deaf, Rochester, NY
     * October 1974
     * Videotape from Captioned Media Program online provides short 
impromptu reenactment by Betty Bonnie and Paul Johnston of Scene II, act 
i lines 168-224. Theatre of the Deaf, #4306. Videotape. Host Robert 
Panara. National Technical Institute for the Deaf; Rochester, NY, 1986. 
(Obtained)

As You Like It, Hamlet and Julius Caesar (short excerpts on videotape)
     * Made at the National Technical Institute for the Deaf, Rochester, NY
     * 1978
     * Bernard Bragg signed scene II, act vii lines 139-166 of As You 
Like It, Bernard Bragg signed scene III, act i lines 59-88 of Hamlet and 
Robert Panara signed scene III, act ii lines 73-107 of Julius Caesar on 
videotape available from Captioned Media Program online:  Creative 
Interpretation of Literature in Sign, #2754. National Technical 
Institute for the Deaf, Rochester N.Y., 1978. (Obtained)

The Tempest
     * La Jolla Playhouse, San Diego, CA
     * 1987
     * Ten minute video of Act I Scene II available from Peter J. Novak, 
but unable to obtain it

Ophelia (Hamlet from female point of view)
     * National Theatre of the Deaf, Performed at Panara Theatre at the 
National Technical Institute for the Deaf, Rochester, NY
     * 1992-1993
     * Ophelia. Videocassette. NTD Archives. Chester, CT, 1992.  Unable 
to obtain video so far.

Pericles, Prince of Tyre
     * Westhoff Theatre, Illinois Shakespeare Festival
     * July 23, 1993
     * Pericles, Prince of Tyre, By William Shakespeare. Dir. Doug 
Finlayson. Prod. Illinios Shakespeare Festival. Ewing Manor Festival 
Theatre, Bloomington, IL. 28 July 1993. Videocassette. Illinois 
Shakespeare Festival, 1993. (I was unable to locate or obtain a copy of 
this video)

Shakespeare Unmasked
     * National Theatre of the Deaf-Little Theatre of the Deaf, CT
     * 1996-1997
     * Shakespeare Unmasked. Salem, Oregon; Sign Enhancers, Inc. 1995. 
(Obtained)

Twelfth Night
     * Amaryllis Theater, Philadelphia, PA
     * October 2000
     * Digital Recording Made though not sure how individuals can obtain it

Hamlet
     * Wisconsin School for the Deaf (High School)
     * 2003
     * Video and script adaptation for students and interpreters 
obtained from English teacher and drama instructor Kari Wicniski at WSD 
(Obtained)

If anyone has any information on this or wants to let me know of a 
production they have seen to make sure it is on my list please respond. 
  Thanks.

Angela Neff
Hard of Hearing and RID Certified CI/CT

_______________________________________________________________
S H A K S P E R: The Global Shakespeare Discussion List
Hardy M. Cook, This email address is being protected from spambots. You need JavaScript enabled to view it.
The S H A K S P E R Web Site <http://www.shaksper.net>

DISCLAIMER: Although SHAKSPER is a moderated discussion list, the 
opinions expressed on it are the sole property of the poster, and the 
editor assumes no responsibility for them.

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